A musical Everest

There are works that, as Riccardo Muti said in relation to the Solemn Mass Beethoven's works, when performed, represent a musical Everest for the artist who tackles them. This is what happens, for example, with the two books ofThe well-tempered harpsichord or with the fourteen counterpoints that make up The art of escape by Johann Sebastian Bach. Both are encyclopedic works, encapsulating the composer's greatness, his ethics and aesthetics, as well as his musical science. Perhaps due to this highly technical conception—not devoid of sensitivity—which makes them austere and ascetic pieces (inherent, moreover, in Bach's incorruptible Lutheranism), they are rarely programmed. Consequently, being able to hear them in their entirety live is a privilege for the viewer.

It must also be said that Thursday afternoon/evening, the Petit Palau offered one of those joyful sights that are rare in this space adjacent to the modernist hall of the Palau de la Música: it was practically full. And not a single cell phone rang (praise be to venues without cell phone coverage!), and the slight cough made its appearance in a contained and polite manner, and only when Kenneth Weiss was wiping his sweat between escapes.

The truth is that the American harpsichordist displayed an indisputable virtuosity, but also revealed a refined sensitivity, although The art of escape –for the reasons outlined above– does not seek dramatic expression, but rather to showcase Bach's skill in counterpoint and in the dialogue between themes and counterthemes, as well as the originality of the fugues. However, Weiss's work displayed an expressive emphasis and measured emotional restraint in the exposition of the famous four notes of the last canon in counterpoint (B-flat, A, F, and B-natural), which symbolize, as is well known, the four letters of the Bach surname.

The variations at the end of the concert were the perfect finishing touch to the Palau Bach series. An intimate atmosphere was created (with spectators gathered around the harpsichord), which the audience appreciated. And Weiss was thoughtful enough to point out the score, which deserves unequivocal applause.